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The President's Committee on the Arts and the Humanities 
is grateful for the public and private leadership that makes the 
2003 Coming Up Taller Awards possible. 

Beth Singer Design 

Cherner Automotive, Arlene and Harvey Cherner 

Cranium, Inc. 


para la Cultura Mexico-EUA (CULTURAL CONTACT, 

The US-Mexico Foundation for Culture) 

GMAC Financial Services 

Green Family Foundation 

H.E. Butt Grocery Company 

The Harman Family Foundation, Jane and Sidney Harman 

Institute of Museum and Library Services 

MetLife Foundation 

Mid- Atlantic Printers, Ltd. 

Miller and Long Companies 

John and Lucia Mudd 

National Endowment for the Arts 

National Endowment for the Humanities 

Car en H. Prothro 

The Ruth C. and Charles S. Sharp Foundation, Inc. 

Surdna Foundation, Inc. 

Vin and Caren Prothro Foundation 

GMAC Financial Services made this publication possible. 

Special thanks go to the National Assembly of State Arts 
Agencies (NASAA) for its partnership in coordinating 
Coming Up Taller. 

The following people from the partner agencies 
are indispensable to the success of this initiative: 

Carmen Boston 

Wilsonia Cherry 

Lee Kessler 

Robbie McEwen 

Marsha Semmel 

Judith Humphreys Weitz 

Cover: Saint Joseph Ballet's 2002 
annual concert. Photograph 
by Rose Eichenbaum. Far Right, 
Above: Close-up of the handi- 
work of an artist at RAW Art 
Works, Inc., a 2000 Coming Up 
Taller awardee. Far Right, Below: 
COCA-Center of Creative Arts 
student, Margot Danis, rehearses. 




•I rtus « t, 

James Schwartz 

' 'bi^* 



Writer: Elizabeth Gibbens 

Editors: Carmen Boston, Cesar Guadamuz, 

Judith Humphreys Weitz 
Design: Beth Singer Design 
Printing: Mid- Atlantic Printers, Ltd. 
Coming Up Taller Logo Design: Anthony Ruotolo 

and Fang Zhou, Hachette Filipacchi Magazines 

Permission to copy, disseminate, or otherwise use 
information from this report is granted as long as 
appropriate acknowledgment is given. 

Contact the President's Committee on the Arts 
and the Humanities for copies of this publication: 

President's Committee on the Arts and the Humanities 

1100 Pennsylvania Avenue, NW, Suite 526 
Washington, DC 20506 
Phone: 202-682-5409 
Fax: 202-682-5668 

' There is no way to fast forward 

and know how the kids will look back 

on this, but I have seen the joy in 
their eyes and have heard it in 

their voices and I have watched 

them take a bow and 

Come Up Taller/' 

Willie Reale, Founder, The 52nd Street Project, describing 

the impact of this theater program on youth living in "Hell's Kitchen, 

a neighborhood in New York City. 

A Note From 

First Lady Laura Bush 

Honorary Chair 

President's Committee on the Arts and the Humanities 

Welcome to the 2003 Coming Up 
Taller Awards! 

When I was a child in Midland, Texas, I went 
to the public library every chance I had. There 
I would let my imagination journey far and 
wide through the magic of books. Today's 
young people are able to have adventures 
of which I only dreamed. 

Their horizons can be expanded in a record- 
ing studio in Chicago; a music practice room 
in Raleigh or New York City; a dance studio 
in Kansas City, St. Louis or Santa Ana; a 
museum in Oakland or Philadelphia; or, yes, 
in a library in Boston, Butte, or Los Angeles. 
They are taking part in some of the many 
after-school and out-of-school activities across 
the country that we are honoring today 
with Coming Up Taller Awards. 

Coming Up Taller brings national recognition 
to organizations which provide exceptional 
experiences for education and personal 
development through the arts and humanities. 

Planned especially for children whose 
prospects for enrichment out of school may 
be limited, these programs encourage 
young people to discover their talents and 
chart their futures. 

Key to the successful growth of these 
young individuals are their adult leaders. 
Professionals in their respective crafts, they 
serve as gifted guides for young people 
exploring new, demanding, and exciting 
creative territories. These adult mentors are 
our valued partners in guiding and inspiring 
the next generation of our country's leaders. 
We salute them today. 

I am delighted to join the members of the 
President's Committee on the Arts and the 
Humanities, the Institute of Museum and 
Library Services, the National Endowment 
for the Arts, and the National Endowment 
for the Humanities in celebrating the 
Coming Up Taller Award recipients for 
their extraordinary work to enhance young 
people's lives, their communities, and 
this country. 

A Note From 

Henry Moran 

Executive Director 
President's Committee on the Arts and the Humanities 

Robert S. Martin 


Institute of Museum and Library Services DcHl£l GlOin 

National Endowment for the Arts 

Bruce M. Cole 


National Endowment for the Humanities 

Anyone who has seen the glow on a child's face at 

the end of a performance, or witnessed a student's 

wide-eyed discovery of a piece of community history, 

or sensed the determination of young people to finish a Website 

design or a painting knows the power of the arts and humanities 

to engage youth. 

Today, more than ever, young people are pursuing opportuni- 
ties to discover and hone new skills when they are not in 
school or at home. With the assistance of library and museum 
professionals, scholars of history and literature, artists, and 
media experts, they are researching and presenting the history 
of city neighborhoods and communities; studying Shakespeare's 
plays and adapting them to reflect contemporary issues; singing 
and playing orchestral instruments; dancing; photographing and 
painting; creating programs for radio and television; and learning 
the arts of animation, printmaking, and bookmaking. 

Through these experiences they find constructive expressions 
of their curiosity; develop strong, positive relationships with 
adult mentors; become valued members of a peer group; 
make informed choices; advance their knowledge of history and 
culture; and join their community giving back as much as they 
learn. As a result, these young people begin to believe in a 
future that offers substantial possibilities. 

Coming Up Taller is a national initiative that recognizes and 
supports these outstanding out-of-school and after-school arts 
and humanities programs for young people. It is a project of the 
President's Committee on the Arts and the Humanities, in part- 
nership with three national cultural agencies: the Institute of 
Museum and Library Services, the National Endowment for the 
Arts, and the National Endowment for the Humanities. 

This publication honors the excellence of the 2003 Coming Up 
Taller awardees. While arts and humanities learning is at 

the core of these hands-on programs, the context in which the 
disciplines are taught varies. Some programs focus on general 
employment training and experiences. Others provide pre- 
professional training or the gift of a lifelong skill in one of the 
arts' disciplines. Several programs engage youth in their commu- 
nities. Others feature extended-day activities, coordinating with 
and supplementing in-school learning. 

And the difference each award recipient is making in young 
people's lives is both tangible and measurable — improved 
school attendance, increased basic reading and math skills and 
problem-solving abilities, higher graduation and college 
enrollment rates, and enhanced life skills. 

Carl Mastandrea, executive director of the Boston Photo 
Collaborative, in describing preparations for an upcoming 
presentation at the New England School of Photography, 
captures some of the ways these arts and humanities 
programs achieve such results: 

Far Left, Above: Flutist 
from the Berklee City Music 
Program, Berklee College 
of Music, a 2003 Coming Up 
Taller nominee, performs. 
Above: Members of the CAAM 
Chinese Dance Theater, a 2003 
Coming Up Taller nominee, 
perform an original piece. 

Jack Yan 

"Today, the teens are very seri- 
ous. The weight of responsibility 
has finally hit. No one thinks my 
jokes are funny. They have a little 
kick in their step — unusual for 
teens. Jeremy has spent the last 
hour on the phone with the local 
historian, getting facts to round out his project. Laura can't fig- 
ure out how to fit five pages of text into one. Xavier's photos are 
affectionate and sweet, yet his writing is anything but. Before 
lunch, they all present their essays and vote on whether they are 
good to go. We practice the oral presentations until the vote is 
unanimous. This could be a long day. 

I love to watch their eyes. I wait for the moment when they 
realize that this project is theirs. Their eyes get a little wider, 
more alert. There's a little desperation in their voices. By Thursday, 
they'll be ready. This is when they shine." 

Through this year's Coming Up Taller Awards, we celebrate the 
promise that shines within every child in America. We salute the 
creative learning opportunities that the awardees offer young 
people. And, we applaud the vision, skill, and dedication of the 
artists, scholars, museum and library experts, and community 
leaders who direct and shape these Coming Up Taller programs. 


Jennifer Amok 

ACES — Achievement Through 
Community Service, Education, 
and Skill Building 

Please Touch Museum 

ACES — Achievement Through Community Service, Education, 
and Skill Building is Please Touch Museum's work-based learning, 
enrichment, and mentoring program for teens from four of 
Philadelphia's public high schools. Each year, 25 young partici- 
pants spend one day per week at Please Touch; they also devote 
many after-school and weekend hours to working in the Museum. 

ACES places a strong emphasis on group projects. As students 
take on various roles — researcher, designer, implemented and 
evaluator — they come to understand the value of teamwork and 
the individual's role in the group process. After a trip to 
historic landmarks in Gettysburg, Pennsylvania; Baltimore, 
Maryland; and Washington, DC, for instance, ACES' students 
drew on their experiences to prepare a reading, "Welcome to 
America," which they presented to a group of newly naturalized 
Americans. To follow up at the Museum, each teenager 
researched the home country of a newly naturalized citizen and 
then participated in an ACES group project — a multicultural 
display that presented history, culture, and geography to Please 
Touch's young visitors. 

ACES' students are paid for their work. To ensure that they 
receive school credit, all projects, activities, and job placements 
are developed using school district 
standards. As a well-rounded pro- 
gram, designed to meet students' 
multifaceted needs, ACES also 
provides counseling services, 
academic tutoring, and college 
and career guidance. In addition, 
an adult advocate helps students 
resolve school-related issues. 

Above: ACES students Luis 
Santiago, Saybah Biawogei, 
and David Castillo work 
witb their mentor, Jamilah 
Thompkins, to re-create 
a human rights painting. 
Far Right: ACES students 
show off their replications 
of paintings that hang in 
the New York Metropolitan 
Museum of Art. 


ACES — Achievement 
Through Community 
Service, Education, and 
Skill Building 

Please Touch Museum 

2 1 North 2 1 st Street 

Philadelphia, PA 19103 



E-mail: jarnold@pleasetouch 


Focus: Arts, Humanities, Science 
Annual Number Participating: 25 
Ages: 14-18 
Annual Budget: $45,000 

"ACES is a win-win situation 
for the students and the Museum. 
The students infuse creative 
energy into our exhibits and 
programs. Their enthusiasm 
stimulates our staff to stretch 
themselves, and the program 
taps into the inherent idealism 
that brings people into the 
museum field. For the students, 
ACES is a pivotal experience 
from which they reap lifelong 
Jennifer Arnold 
Youth Program Coordinator 

From week to week, students also 
explore careers that are new to 
many of them — for example, careers 
m marketing, event planning, and 
exhibition design. Volunteers from 
the Museum's staff mentor the 
students, guiding them through 
professional projects. During the past year, these included creat- 
ing toy package designs, writing and performing in Museum 
theater productions, and planning and executing exhibitions. 

In 2002, Please Touch Museum's community programs, includ- 
ing ACES, won the National Award for Museum Services from 
the Institute of Museum and Library Services. ACES' outstand- 
ing features are, indeed, worthy of recognition. Its holistic edu- 
cational focus exposes young people to a wide range of learning 
opportunities in the arts, humanities, and sciences. 
The long-term nature — students are in the program for three 
years — encourages students to develop strong relationships 
with Museum staff. And its Museum-wide focus provides 
students with opportunities for learning and working throughout 
the Museum 

During their time in the program, students develop problem- 
solving skills and learn to be tenacious in overcoming obstacles. 
A program of high expectations and unique resources, ACES 
helps teens set clear goals for the future and prepares them to 
become independent, confident adults. 


Kansas City Friends of Alvin Ailey 

Alvin Ailey learned early in his life that exposure 
to dance can be a life-changing experience. 
His discovery of dance led to the founding of 
the Alvin Ailey American Dance Theater, a 
world-renowned dance company dedicated to 
the preservation and enrichment of American 
modern dance and the uniqueness of African- 
American cultural expression. It also resulted 
in the creation of AileyCamp in Kansas City, 
an innovative pilot program that uses dance 
as a metaphor for life. The AileyCamp experi- 
ence reflects Ailey's belief that the skills needed to learn dance 
are the same ones needed to succeed in life — self-discipline and 
the ability to listen, think critically, solve problems, and engage 
in cooperative learning. AileyCamps have since expanded to 
seven cities across the United States. 

The core of the AileyCamp day involves classes in modern 
dance, jazz, ballet, and tap with professionals from around the 
country who return year after year. In addition, campers work 
on their communications skills through storytelling, creative 
writing, percussion, and sculpture. These experiences happen 
under the guidance of teachers who understand the importance 
of balancing discipline with compassion and personal attention. 
Youth participate in field trips, sometimes with their families, 
and attend classes in personal development around such issues 

Kimberly Hines 



as conflict resolution, health, and nutrition. Every camper 
receives a full-tuition scholarship plus uniforms, meals, and 
transportation free of charge. The combination of structured 
activities, positive role models, family involvement, and opportu- 
nities to succeed accounts for AileyCamp's positive impact 
on children: They have higher expectations for attending and 
finishing high school; a greater sense of social and civic values; 
and expanded participation in the arts, particularly dance. 

National AileyCamp Director Nasha Thomas-Schmitt adds, 
"For the past 15 years, AileyCamps have provided profoundly 
positive learning experiences for young people from challenging 
urban environments, helping them build their self-esteem, 
creative abilities, and critical thinking skills. We want campers 
to know they have all the 
power in themselves to attain 
their goals. We are so proud 

of the many success stories 
from AileyCamp." 

Far Left, Top: AileyCampers 
dance to drumming and spoken 
word. Below Left: AileyCampers 
perform in dress rehearsal. 
Far Left, Bottom: Members of 
AileyCamp's Group "M" dance 
M.I.B.-.M in Ballet. 


Kansas City Friends ofAlvinAiley 
218 Delaware Street, Suite 101 
Kansas City, MO 64 1 05 

Focus: Dance 

Annual Number Participating: 170 

Ages: I 1-14 

Annual Budget: $300,000 

"AileyCamp is one of the most 
respected and admired programs 
for middle-school children in our 
entire metropolitan area. It serves 
as an inspiration for other arts 
and cultural organizations to 
develop programs that have the 
impact this one does on the lives 
of children." 
Joan Israelite, President 
The Arts Council of 
Metropolitan Kansas Cit 


LACER Afterschool Programs: Literacy, 
Arts, Culture, Education, and Recreation 

How can you raise the average standardized read- 
ing test score in your school by five points? Give 
students something compelling to read — a play 
that they enact, directed by professionals with 
credentials. Give children the attentive services of 
tutors and guidance from research librarians who 
can help young people navigate and use the 
Internet's unlimited, often free, resources. Inspire 
young people with the chance to perform their 
music on stage at a "cool," "hip" venue, such as 
the House of Blues on the Sunset Strip. These 
are some of the experiences and activities that 
LACER has provided to middle-school children 
since 1995 through its after-school enrichment 
program, ARTSTARS. 

ARTSTARS supports 
children by providing a five- 
day-a-week, after-school, arts 
learning program in theater, 
music, dance, creative 
writing, and the visual arts. 
This learning is done m 
accordance with state 
educational standards for 
the arts, drawing upon the 
core school subjects of 
English, math, social studies, 
and science for content. In 
addition, LACER provides 
homework assistance, 
tutoring support, and a 
comprehensive literacy pro- 
gram developed in partnership with the Los Angeles Public 
Library. Through intensive tutorials, students receive daily 
small-group and individual instruction after school at their local 
library, with the goal of improving their reading, writing, and 
computer skills. 

Through education in the arts, ARTSTARS gives children 
the chance to see knowledge in action, which encourages a 
value for and a purpose in learning. Seventy-six percent of the 
students enrolled in LACER's after-school program say that they 
enjoy English classes more than they did before enrolling in 
ARTSTARS. In addition, 84 percent of the participants say that 
if they were alone in the house with nothing to do, they would 
work on a music project. Such outcomes support the indepen- 
dent evaluations of ARTSTARS, which find that the program 

Far Right, Above: El Trio la Estrella 
performs. Above: Students of the 
Irving Stars Afro-Cuban Dance 
Workshop perform. Far Right: 
Stephanie Mendez, Melody Pacheco, 
Maricris Dimaano, and Krystel 
Bockholt from the Hollywood Stars 
Musical Theatre Workshop practice 
a number. 


LACER Afterschool Programs: 

Literacy, Arts, Culture, Education, 

and Recreation 

1718 North Cherokee Avenue 

Hollywood, CA 90028 


Fax: 323-957-6480 



Focus: Creative Writing, Music, 
Performing and Visual Arts 
Annual Number Participating: 2,500 
Ages: 10-14 
Annual Budget: $ 1,200,000 

"The most important outcome 
from the ARTSTARS program 
is the correlation between class- 
room learning, real-life experi- 
ences, and artistic expression 
that increases students' interest 
and achievement in reading, 
writing, math, and science." 
Sharon Strieker, Executive Director 
LACER Afterschool Programs 

William Kidslon 

dramatically improves chil- 
dren's attitudes toward 
school and their ability to 
set and realize goals for 
themselves. Says Linda Del 
Cueto. pi incipal, Joseph 
LeConte Middle School, "I firmly believe that the strong perform- 
ing arts and library programs provided by ARTSTARS have been 
a major influence in the improvement in reading test scores by 
our students." 


Community Music School, Inc. 

In Raleigh, North Carolina, the Community Music School (CMS) 
offers high-quality weekly instruction in classical music to low- 
income children throughout the school year. Training is provided 
in one of 11 instruments, including orchestral instruments, 
piano, and guitar. After their enrollment in CMS, "Children show 
an improved ability to stay with tasks from beginning to end," 
says Marty Suttle Thomas, executive director. "They develop 
problem-solving skills as they learn to read music and figure out 
how to translate the notations to their instrument." 

As they develop new abilities, students are supported by a 
skilled musician in weekly one-on-one music lessons, for which 
they pay one dollar. "Quite frequently, this is the only individual 
instruction a child receives, and they consistently respond 
responsibly and with respect," says Thomas. 

Although most of the instruction occurs during the academic 
year, CMS also operates BnanGan 

Summer Notes — an 
intensive two-week day 
camp on the campus of 
the historically black 
college, St. Augustine's 

Right: LaTodd Cade per- 
forms at a student recital. 
Far Right: Tonya Kirk 
instructs Lartey Cade. 

Community Music 
School, Inc. 

PO Box 2545 

Raleigh, NC 27602 



E-mail: com_music_school 


Focus: Music 

Annual Number Participating: 500 

Ages: 6-18 

Annual Budget: $84,600 

"As a musician myself, I have sat 
through student juries, listening to 
a student play a piece he or she 
has learned through the course of 
the year. I can attest to the growth 
in both musical ability and esteem 
these students experience through 
their involvement in the program." 
Michelle S. Hile, Managing Director 
North Carolina Master Chorale 

College — which offers classes in music history and music theory 
and the opportunity to sing in a chorus. During Summer Notes, 
students learn concert etiquette and are exposed to a variety of 
musical genres because of the almost daily performances of local 
professional musicians and musical ensembles. 

To assist parents in supporting their children's interests 
in the arts, CMS, through partnerships with other area arts 
organizations, offers tickets to performances and information 
about arts activities in and around Raleigh. By sending program 
notes home to parents, CMS also fosters family conversations 
about the arts and humanities. 

The Community Music School provides a much-needed oppor- 
tunity for children who might never have a chance to study 
music privately. The impact of the experience on their lives can 
be measured in terms of immediate musical accomplishments. 
The program also gives these children an ability that can be 
enjoyed throughout their lives. 

Nina Desai 


Erica Deipanne 

Hard Cover 

Community Television 


24 1 8 West Bloomingdale 

Chicago, IL 60647 

Phone: 773-278-8500 

Fax: 773-278-8635 



Focus: Media Arts 

Annual Number Participating: 343 

Ages: 13-21 

Annual Budget: $64,400 

"CTVN's groundbreaking 
programs, now national models 
for after-school and school 
reform organizations nationwide, 
have empowered thousands of 
youth and entire communities. 
[CTVN] has become a veritable 
Chicago institution, making an 
improvement in youth education 
in a way no other program has 
been able to." 

Laura Weathered, Executive Director 
Near North West Arts Council 

Hard Cover 

Community Television Network 

Far Left, Top: CTVN's 
young reporters set up 
for a Hard Cover story. 
Far Left, Bottom: Vanessa 
Rodrigues, Audrey 
Johnson, and two more 
of the Hard Cover team 
call the camera and 
audio shots. Bottom Left: 
Milly Caraballo, award- 
winning youth videomak- 
er, takes a break. 

rica Deipartne 

Hard Cover, a program of Community Television Network (CTVN) 
gives urban youth the opportunity to become creators in a medium 
in which they are accustomed to being consumers. CTVN has 
found that given the opportunity to "make TV" about them- 
selves and their communities, youth respond with enthusiasm. 

This 17-year-old CTVN program is 
the nation's longest-running youth - 
produced cable access TV series. Each 
year, participants write, produce, direct, 
and edit 26 broadcast programs of 30 
minutes each, airing one new show 
every two weeks. 

The foundation of Hard Cover's philos- 
ophy is to provide youth with the oppor- 
tunity and tools for conceiving and creating an expression of 
themselves and their environments, empowering them through 
the use of critical thinking and the realization of their creative 
inspirations. Additionally, these youth learn how to read and 
analyze the electronic media that surround their daily lives. 

Youth producers learn the technical aspects of video production 
by working with experienced filmmakers to use their creativity, 
allowing them to address issues they find important in aesthetically 
appealing and often poetically structured 
ways. When creating TV programs about 
topics ranging from school reform to commu- 
nity issues and events, Hard Cover producers 
find innovative ways to tell stories and 
express ideas artistically by using original 
images, music, and writing; stylized lighting 
and composition; and thoughtful juxtaposition 
of images through editing. 

Through its International Video Letter 
program, young participants send abroad 
"video letters" about their communities, cultures, and customs. 
Following the events of September 11, 2001, youth producers 
participated in an international dialogue with youth in India, 
Pakistan, Sri Lanka, Dallas, and New York City to discuss the 
social and political climates of their respective locales, to share 
personal experiences and opinions about terrorism, as well 
as to extend a gesture of peace and understanding. To adapt 
the videos to audiences in foreign countries, students 
researched these countries and learned about their cultures. 

Since the program began in 1986, youth have produced 
more than 300 Hard Cover videotapes — the largest library of 
independent youth-produced videos available in the country. 
The work is broadcast to audiences numbering in the hundreds 
of thousands each yeai 


Life Lines Community Arts Project 

Center for Family Life, St. Christopher-Ottilie, Inc. 

Celebrating its 21st anniversary this year, St. Chnstopher- 
Ottilie, Inc.'s Life Lines Community Arts Project — an initiative 
of the Center for Family Life, a family-focused, neighborhood- 
based social services agency — is a free, year-round program 
that brings together education, the arts, and social services to 
promote individual growth, sustain families, and create a sense 
of community 

Life Lines' two programs, After-School Arts Program and 
Summer Art Camp, provide quality instruction to youth from 
the immigrant community of Sunset Park. Based at Middle 
School 136, both programs operate five days a week and provide 
instruction in dance, acting, singing, percussion, the visual arts, 
photography, and creative writing, along with daily homework 
assistance, computer access, and academic enrichment. 

For example, After-School Arts participants engage in three 
productions each year. In the fall, they create a musical adapta- 
tion of a literature-based play. Past productions have been based 
on such classics as Madeleine LEngle's A Wrinkle in Time and 
Norton Juster's The Phantom Tollbooth. Additional activities 
throughout the year include coursework in academic subjects 
and the arts — from math and history to dance and creative 
writing. The culminating presentations, such as a percussion 
composition based on mathematical concepts and fractions, 

Maura Marquez 

Above: Vocal ensemble pre- 
sents selection from Shades 
of Sunset. Far Right: Students 
perform the "Traditions" 
dance from Mi Building (Four 
Families and a Super). 



Life Lines Community 
Arts Project 

Center for Family Life 

St. Christopher-Ottilie, Inc. 

345 43rd Street 

Brooklyn, NY 11232 





reflect the interdisciplinary nature of the program and generate 
enthusiasm for learning. 

A recent highlight of the After-School Arts Program was 
Reflections on September 11th, a project that developed out 
of the participants' desire to explore feelings related to the 
tragic events of this day. Teens recorded their reactions to 
September 11, 2001, and to the heroism of local firefighters. 
They interviewed people in the community about their thoughts 
and feelings, combined the results with photographs, and 
created a newsletter that they shared with the firehouse and 
the neighborhood. Students also used excerpts from their 
interviews to create an ensemble theater piece presented 
in their spring show, Sunset Stones. 

During the Summer Art 
Camp, participants take 
advantage of the diverse 
and rich educational 
resources available in 
New York City by taking 
daylong cultural outings, 
attending outdoor festivals, 
and participating in 
in-depth arts experiences. 
For instance, campers 
recently visited the 
Museum of Natural History 
and, in addition, partici- 
pated in a 2003 summer 
production of Country 
Mouse, City Mouse, a 
musical adaptation of the 
classic fable by Aesop. 

Life Lines creates a num- 
ber of practical opportuni- 
ties for its students. 
Teenagers have paid 
summer jobs in dance 
and theater troupes. A 
high-school internship 
and mentoring program 
gives young people daily 
help with their homework, 
access to computers, 
leadership training, and 
opportunities to enrich 
their educational experi- 
ence by contributing to 
their community. 

Focus: Performing and Visual Arts 
Annual Number Participating: 530 
Ages: 10-19 
Annual Budget: $330,600 

"Life Lines' use of the arts to give 
expression to relevant social and 
emotional themes, to promote 
cultural understanding, and to 
strengthen connections between 
people is particularly beneficial at 
this time of uncertainty in our 
city and country." 
Nydia M. Velazquez 
Member of Congress 
1 2th District New York 



833 North Orleans Street 

Chicago, I L 60610 

Phone: 3 1 2-944-24 1 8, ext. 202 

Fax: 3 1 2-944-6696 



Focus: Visual Arts 

Annual Number Participating: 1,300 

Ages: 11-18 

Annual Budget: $1,400,000 

"At Marwen, I have a sense of 
individuality and belonging at 
the same time. I have learned 
to keep my balance. However, 
the most important thing here 
is the constant exchange of ideas, 
whether about art or political 
and social viewpoints." 
Theo Vega, Marwen Alumnus 

Top: Alstair Del Rosario works on a 
commissioned mural in Marwen's 
summer internship program. 
Above Left: Artist-teacher Daniel 
Barber helps student Jason 
Ogawa in a studio course. Above: 
Sara Ordonez works in Marwen's 
studio course, Face to Face: 
Carving Plaster Portrait Sculpture. 

Mar wen 

"Marwen offers a secure environment in which students can 
explore their identities and express themselves without inhibi- 
tion," says Antonia Contro, executive director for Marwen. 
Established in 1987, Marwen provides high-quality visual arts 
education, college planning, and career development — all free of 
charge — to Chicago's underserved youth in grades 6-12. 

The students who participate in Marwen 's after-school, week- 
end, and summer programs are a diverse group of creative, 
motivated, and focused youth. Program participants exhibit a 
level of seriousness and professionalism that is acquired through 
the rigorous, high-quality arts instruction available at Marwen. 
In alignment with the Chicago public school calendar, Marwen 's 
Studio Program offers four terms of visual arts courses in drawing, 
painting, mixed media, ceramics, sculpture, photography, 
graphic design, animation, videography, and much more. 
Last year alone, Marwen offered 53 courses, all designed and 
implemented by professional artist-teachers, aided by alumni 
teaching assistants. 

Advanced students are directed to Marwen 's College Planning 
and Career Development Programs to investigate and define 
higher education and career goals. Together, the programs offer a 
host of focused initiatives, including college and career planning 
courses, a two- week intensive portfolio preparation course, a 
six- week summer internship program, topic-specific workshops, 
and individualized career and college counseling. Marwen also 
offers two continental travel experiences, Aitwaid Bound: NYC 
and Artward Bound: Maine. These week-long, experiential 
study trips enable students to create art; visit cultural institutions 
and colleges; and, for most, travel outside of Chicago for the 
first time. 

With an exhibition space dedicated solely to the artwork of 
students, Marwen celebrates the work of its program partici- 
pants year-round. At the end of each Studio Program term, every 
student chooses one piece of work that represents his or her 
best effort for display. Exhibition openings offer students the 
opportunity to share their experiences with teachers, friends, 
and families. The artwork on display is symbolic of students' 
multiple achievements: increased self-expression, confidence, 
and esteem; an appreciation of and respect for others' ideas and 
opinions; and the ability to plan for the future and implement 
the necessary steps to achieve personal and professional goals. 


Orphan Girl Theatre 

Butte Center for the Performing Arts 

The Butte Center for the Performing Arts is dedicated to the 
engagement and education of persons of all ages through the 
medium of live theater. Its two theaters — the Mother Lode, a 
1,200-seat facility, and the Orphan Girl, a 106-seat renovated 
facility — not only serve the Butte community, but outlying areas 
as well. The Orphan Girl Theatre operates after-school programs 
year-round, including during the summer, that offer youth the 
opportunity to develop their knowledge and appreciation of local 
history, as well as their skills as writers and performers. 

Uncovering nuggets of history 
in the Butte Archives, local 
libraries, the Mining Museum, 
and the former School of Mines, 
students work with historians 
and dramatists to create and 
perform a series of 30-minute 
melodramas. The genre suits the 
town's boom-and-bust history. 

Far Right: Villians Landon 
Hansen and Mac Taylor scheme 

in Romance in Venus Alley. Below 
Right: Gary Warchola plays a 
miner and Terri Rask a waitress 

in The Luck O' the Chinese 
or The Ancient Chinese Secret. 

Orphan Girl Theatre 

Butte Center for the 

Performing Arts 

1 260 West Platinum Street 

Butte, MT 5970 1 

Phone: 406-782-7720 




Focus: Theater 

Annual Number Participating: 500 

Ages: 5- 1 8 

Annual Budget: $ 1 1 ,700 

"The Orphan Girl melodramas 
have increased visits to [Butte's] 
historically important Central 
Business District and have 
enhanced the appreciation of 
our local history." 
Ellen Cram, Director 
Butte-Silver Bow Public Archives 

Iconic characters of the American West — scoundrels, damsels, 
heroes, agitators, organizers, immigrants, bartenders, and piano 
players — inhabit the plots of comedies and tragedies. The young 
actors title their melodramas with such names as A Miner 
Difference of Opinion, Romance in Venus Alley, and Shades of 
Gold and Silver. Through this exploration of their town, students 
develop a better understanding of history, enhance their ability 
to conduct historical research, and increase their appreciation of 
popular literature from the past. 

Children also serve as the theater's directors, producers, stage 
managers, lighting and sound technicians, costume designers, 
and concessionaires for each performance. Working after school, 
on weekends, and during the summer months, they learn that 

Derek Pruitl 

even creative occupations involve discipline; teamwork; and, 
sometimes, repetitive tasks. They also experience 
the connection between the arts and community-building. By 
creating theater relevant to the lives of Butte's citizens, they 
are helping to revitalize the spirit of this town, devastated 
economically by the closing of the world's largest open-pit 
copper mining operation. 


Pre-Professional Dance Program 

COCA — Center of Creative Arts 

Since its inception, COCA — Center of Creative Arts has been 
dedicated to providing the highest quality arts instruction 
to St. Louis youth, regardless of their ability to pay. The Pre- 
Professional Dance Program is a long-term, comprehensive 
program that seeks to foster a love of dance in youth. The 
program also serves as a community support for low-income 
youth and demonstrates that the arts can be the vehicle for 
transforming young lives. 

Through its outreach efforts 
in urban classrooms, COCA 

Far Right: Brandon Bieber 
and Margot Danis rehearse 
while their classmates 
observe. Below: COCA 
instructor leads dance pro- 
gram students in a routine. 

James Schwartz 

uncovers the promise of young dancers. Instructors watch for 
students with interest, motivation, and promise to participate 
in ongoing dance instruction. Students receive scholarships 
to train in ballet, jazz, modern dance, and tap and can audition 
for COCAdance, COCAs performing company of teen dancers. 
In addition to performance opportunities, COCAdance offers 
its members the chance to interact with professional dancers 
and choreographers. 

Although the Pre-Professional Dance Program's name suggests 
that the program's aim is career training, its fundamental goal is 
to encourage the overall development of young people. The pro- 
gram teaches the rewards of discipline and hard work; increases 
self-esteem, as students improve and receive accolades for their 
achievements; and provides many opportunities for experienc- 
ing the joy of performance. 




Dance Program 

COCA — Center of Creative Arts 

524 Trinity Avenue 

St. Louis, MO 63 1 30 





Focus: Dance 

Annual Number Participating: 30 

Ages: 8-1 8 

Annual Budget: $ 1 82,400 

"If I wanted to dance, I had to be 
disciplined. If I wanted to live, I 
had to be disciplined. And to be 
respected, I had to be disciplined. 
So it all came together." 
Antonio Douthit, Pre-Professional 
Dance Program Alumnus 

James Schwartz 

To support the growth 
of talented students who 
cannot afford the oppor- 
tunity to develop their 
skills, COCA has provided 
$850,000 in scholarships 
since 1992. Furthermore, 
the program provides 
comprehensive support 
services to anyone who 
needs them in the form of 
transportation, counseling, 
academic tutoring, and 
assistance in applying 
to summer and post- 
secondary institutions. 

The program's quality 
is reflected in the achieve- 

ments of its graduates. Members of the program have found 
success at The Juilliard School, Dance Theatre of Harlem. 
Houston Ballet, and Ballet Hispanico, among others. Yet even for 
those who do not pursue dance careers, Executive Director 
Stephanie Riven says, "The program challenges students intel- 
lectually and physically. It teaches the skills necessary to work 
with a diverse group of teammates. Participants learn that there 
is a time for originality and a time for replication and that there 
is a time to be the star and a time to be a productive member of 
the group Perhaps most important, the program fuels the stu- 
dents' creativity and passion for dance." 


Project Image, Teen Images, 
and The Place Where I Live 

Boston Photo Collaborative, Inc. 

Transformative qualities are what all award-winning Coming Up 
Taller programs share: Students learn a formal discipline, and that 
new skill takes them to places they had probably never imagined. 
The Boston Photo Collaborative gives youth the chance to make 
positive images out of negative circumstances in their lives. 
These young people develop interpersonal, computer, and 
creative skills that often transform their futures. 

Since 1991, the Collaborative has offered training in photogra- 
phy to reinforce and amplify what students learn in school. 
Project Image offers training in photojournalism and, when 
students are ready, opportunities to complete photography 
assignments for businesses and non-profit organizations around 
Boston. The 12 students, ages 14-18, who participate in Project 
Image, a seven- week intensive summer employment program, 
also put together their own documentary photographic and 
written essays about issues that affect teens. Often these 
young people use photography to question and counter media 
stereotypes of urban youth. 

In the year-round, teen-run Teen Images project, high-school 
students learn about commercial photography and run their own 
business. Participants develop job-related communication skills 
and the knowledge of how to operate a small business. Teenagers 
also learn about digital imaging and Website creation. Working 
primarily with non-profits, for a modest fee, Teen Images provides 

Boston Photo Collaborative Staff 

Above: Walter Bullock presents his 
photo essay at Project Image's 2002 
final reception. Far Right: Crystal Ruiz 
and Marlena Cesar present their photo 
essays at Project Image's 2002 final 


Project Image, Teen 
Images, and The Place 
Where I Live 

Boston Photo Collaborative, Inc. 

67 Brookside Avenue 

Jamaica Plain, MA 02130 





Focus: Photography 

Annual Number Participating: 35 

Ages: 11-18 

Annual Budget: $ 1 35,300 

"The artwork produced by the 
young people at the Boston Photo 
Collaborative is unquestionably 
high. The range of activities 
offered to teens — basic skills; 
field, individual, and group work; 
contact with guest artists; and 
writing — is comprehensive. The 
youth programs honor young 
people's assets and experiences, 
creating opportunities for 
youth leadership." 
Mary Kelley, Executive Director 
Massachusetts Cultural Council 

these organizations with valu- 
able documentation of the good 
work they do. It is another way 
for the teens to give back to 
their communities. 

In the after-school and week- 
end photography program, The 
Place Where I Live, students 
from a neighborhood housing 
development create photo 
essays about their home sur- 
roundings. Through photogra- 
phy, they gain perspective 
about their neighborhood 
while learning a lifelong mode 
for self-expression. "Through 
the lens, they document their 
lives. Through the click of the 
shutter, they tell us their sto- 
ries. With their photographs, 
our teens give back to their 
peers and to their families, and 
they learn as much about their 
community as they do about 
themselves," observes Heather 
Beard, associate director of 
the Collaborative. 

By learning and working at 
the Boston Photo Collaborative, 
young people have the chance 
to be taken seriously. "We strive 
daily to recognize, validate, 
encourage, and strengthen 
the voices of today's youth," 
adds Carl Mastandrea, founder 
and director. 

Boston Photo Collaborative Staff 




• ' i - - 


Project YIELD 

Museum of Children's Art 

Trma M Fields 

The Museum of Children's Art (MOCHA) is dedicated to making 
the arts a fundamental part of the lives of all children. The third 
largest arts organization in Oakland, MOCHA has been recog- 
nized for its model partnerships with schools, public and 
private institutions, and other arts agencies. It is known for 
its programs built on the integration of the arts with best 
practices in education and youth development and for its 
extensive investment in evaluation and assessment as tools 
for sustaining effective programming. 

These characteristics are manifest in Project YIELD (Youth 
in Education and Leadership Development), MOCHA's compre- 
hensive after-school arts education and youth development 
program. Local professional artists teach classes in the visual, 
literary, performing, media, and public arts using a curriculum 
that is linked to the academic school day and responsive to 
school district learning standards, as well as to new and emerg- 
ing curricula and learning theories. This extended-day program 
takes place at a school site to reinforce the connection between 
in-school and out-of-school learning. 

In addition to after-school arts education, Project YIELD has a 
community and youth development component developed in 
conjunction with a paid advisory team of artists, youth, parents, 
and community members. Through exhibitions, performances, 
and mentoring with professional artists, the youth develop artistic 
excellence, talent, and leadership skills. They create public artworks 
for the benefit of the community, including street pole banners 


Project YIELD 

Museum of Children's Art 
538 Ninth Street, Suite 210 
Oakland, CA 94607 

Focus: Literary, Media, 
Performing and Visual Arts 
Annual Number Participating: 200 
Ages: 5-16 
Annual Budget: $589,000 

"MOCHA has developed 

innovative programs that have 

changed how the arts are 

viewed and utilized in education 

and youth development. It is a 

recognized leader in the field 

of youth development and arts 


Wbyne Cook, Manager 

Arts in Education 

California Arts Council 

rhool in catlabo 

' Project V*Hd .' Mocha .ind So 

Tnna M Fields 

Far Left: Before each perfor- 
mance, participants engage 
in a Praise Circle to promote 
teamwork. Above Left: During 
the Day of Tribute to Cesar 
Chavez, youth participate in a 
garden tile mosaic workshop. 
Above: Students from Project 
YIELD and McClymonds High 
School, in collaboration with 
teachers Carolyn S. Carr and 
Asual Aswad and designer 
Scott Panton, created this pho- 
tographic mural. 

that promote positive youth 
voices; public art messages 
against violence posted on 
buses, kiosks, and bus shel- 
ters; an exhibition of photo- 
graphic biographies of 
community leaders; and a 
collaborative mural that 
reflects the contributions of individuals to the community 

MOCHA believes that a variety of ongoing internal and exter- 
nal evaluations and assessments of youth development, acade- 
mic, and artistic outcomes are critical to delivering exemplary 
programs. Intensive program evaluations demonstrate impres- 
sive results: Fifty percent of youth participating 
in Project YIELD improved m-school attendance; 49 percent 
increased their basic skills and problem-solving scores on 
standardized tests in reading; and 43 percent achieved similar 
im] Movements in math. Because of MOCHA's successful work, 
the Oakland Unified School District is supporting MOCHA's 
expansion into five more school sites. 


Radio Arte WRTE 90. S FM 

Mexican Fine Arts Center Museum 

From Chicago, Radio Arte WRTE 90.5 FM, America's only 
Spanish-English, Latino-owned, youth-operated, 24-hour 
community-broadcasting radio station, is attracting attention 
everywhere — from Mexico to the nation's capital — as a 
national model in engaging and empowering youth through 
the art of media. 

An outreach project of the Mexican Fine Arts Center 
Museum, WRTE encourages student operators, managers, and 
deejays to delve into "the art of radio" through a two-year 
program that explores cultural and community issues. One 
current WRTE project, for example, Camino Tiena Adentro, 
is a live talk program with local artists and representatives 
from arts organizations. 

Each year, 120 students enroll in the station's training 
program. They advance from phase one — six months of study 
in creative writing, voice training, and a Federal Communications 
Commission course in broadcast theory — to phase two, in 
which the budding broad- 
casters learn to use equip- ' 
ment made for radio 
production and editing. 

Right: Jesus Echeverria and 
Mayra Ochoa edit a segment of 
Radio Arte's programming. Far 
Right, Top: Uzziel Sandoval pre- 
pares for his weekly radio show. 
Far Right, Bottom: Frank Conde 
deejays his own show. 

Radio Arte 
WRTE 90.5 FM 

Mexican Fine Arts Center Museum 

1 852 West 19th Street 

Chicago, IL 60608 





Focus: Humanities, Media Arts 
Annual Number Participating: 120 
Ages: 15-21 
Annual Budget: $4 1 5,300 

"Radio Arte has flourished as the 
only Latino-owned, community- 
broadcasting station to integrate 
youth fully as part of its program- 
ming while helping them develop 
their skills as journalists, producers, 
and administrators in the commu- 
nications field. It is through this 
commitment that Radio Arte 
has become the national training 
model for youth in the art of 
media and public radio." 
Michael Orlove, Program Director 
Department of Cultural Affairs 
City of Chicago 


Finally, in phase three, students plan, develop, and maintain 
their own on-air programs for one year. Through their involve- 
ment with Radio Arte, students become aware of community 
issues and develop both decision-making and leadership skills. 
They also bring a youth perspective to cultural and community 
issues in the Metropolitan Chicago area. 

Throughout their training, students work with professional 
broadcasters in radio, television, and print, giving them direct 
access to journalists from leading Chicago media outlets. After 
successful completion of this program, participants are encour- 
aged to find related radio internships in the Chicago area. 

Since the station's founding in 1996, WRTE students have 
gained accolades for their productions. An ABC-TV special 

featured WRTE in Tapestry: 
Generation N, reporting on the 
successes of young Latinos in 
Metropolitan Chicago. And in 
April 2002, Radio Arte received 
two Excellence in Production 
awards from the National 
Federation for Community Bioadcist.iiuj Many graduates 
of the program have gone on to successful careers in broadcast- 
ing; others have used the experience to pursue higher education. 


Rose Eichenbaum 

Saint Joseph Ballet 

Saint Joseph Ballet has developed comprehensive year-round 
programs to help youth effectively transfer the esteem, motivation, 
and risk-management skills they gam through dance to other 
aspects of their lives. More than 400 young people attend Saint 
Joseph Ballet each year, and enrollment has grown steadily 
since its founding in 1983. Most students are from families with 
limited means so they attend Saint Joseph Ballet on scholarship; 
96 percent participate free of charge. 

The dance training reflects Saint Joseph Ballet's commitment 
to artistic excellence; 42 classes are offered weekly, with six 
levels of proficiency Students affirm their achievements and 
build confidence through performances. By inviting accomplished 
artists to collaborate with participants on its annual production, 
Saint Joseph Ballet honors the efforts of its students, and its pre- 
sentations earn a prestige that many annual recitals never realize. 

In addition, Saint Joseph Ballet encourages family involvement 
in participants' development as dancers and as young 
citizens. To cultivate skills and tools for coping with the many 
demands of raising healthy children, Saint Joseph Ballet offers 
educational seminars for parents on such topics as health, 
parenting skills, and personal finance. Ongoing professional 
counseling, crisis intervention, and social service referrals 
are also available to students and parents. 

Saint Joseph Ballet also provides services that increase stu- 
dents' academic competitiveness, raising the chances that they 
will graduate from high school, enroll in college, and ultimately 
graduate. Students with grade point averages (GPAs) below 


Far Left: Students perform in 
Los Angelitos, choreographed 
by Mark Haim. Top: Students 
await instruction. Above: 
Students warm up at the barre. 

Saint Joseph Ballet 

1810 North Main Street 

Santa Ana, CA 92706-2727 

Phone: 7 1 4-54 1 -83 1 4 



Focus: Dance 

Annual Number Participating: 400 

Ages: 9- 1 9 

Annual Budget: $ 1 ,684,000 

"This dance company is determined 
to give youth new options for their 
lives through high-quality dance 
training. Saint Joseph Ballet also goes 
a step beyond training by incorpo- 
rating academics, family services, and 
enrichment programs into its dance 
program, supporting the teens' 
growth in all ways." 
Ellen 8. Rudolph, Program Director-Arts 
Surdna Foundation, Inc. 
New York, NY 

3.0 are offered on-site, 
one-on-one tutoring by 
community volunteers 
and students from the 
University of California. 
Irvine. And academic achievement is substantially rewarded: All 
students who attend Saint Joseph Ballet throughout high school 
and graduate with at least a 2.5 cumulative GPA are awarded a 
college scholarship. 

Participants in Saint Joseph Ballet show remarkable self- 
assurance, social skills, expectations, and commitment to 
learning, according to a University of California, Irvine study. 
These are the tools, the report explains, that adolescents need 
to succeed in life. And Saint Joseph Ballet's children are suc- 
ceeding. Since 1998, all of Saint Joseph Ballet's seniors have 
graduated from high school, with 93 percent attending college 
in a city with an overall college enrollment rate of 19 percent 
among college-eligible high-school graduates. 


SWAT Team, Celebration Team, 
and Summer Institute 

National Dance Institute, Inc. 

At 15, Jacques d'Amboise joined the New York City Ballet to 
escape from street life and to learn the rigors and joys of dance. 
Experiencing how the medium of dance had changed his life, 
he sought to bring this opportunity to other children. In 1976, 
d'Amboise founded the National Dance Institute (NDI) to 
introduce children to dance. Over the years, the NDI has 
taught the fundamentals of dance to at least 75,000 children 
across the country. 

From its home base in New York City, NDI partners with 20 
public schools to introduce children to dance through a combina- 
tion of in-school, weekend, and summer programs. Receiving the 
Coming Up Taller Award are the three out-of-school programs: 
the SWAT (Scholarships for the Willing, Achieving, and Talented) 
Team; the Celebration Team; 
and the Summer Institute. 

Top Right: Young dancers prac- 
tice their technique at NDI's 
Summer Institute. Bottom 
Right: NDI Artistic Director 
Ellen Weinstein dances with 
members of the Celebration 
Team. Far Right, Bottom: This 
is the final moment of NDI's 
2000 performance of Romeo 
and Juliet. 

SWAT Team, Celebration 
Team, and Summer 

National Dance Institute, Inc. 

594 Broadway, Room 805 

New York, NY 10012 



E-mail: rosullivan@ 


Focus: Dance 

Annual Number Participating: 300 

Ages: 9-15 

Annual Budget: $379,000 

"The National Dance 
Institute is exemplary in the 
arts education field with a 
26-year history of introducing 
its students to dance and the 
arts through participatory 
Kathleen Hughes, 
Assistant Commissioner 
Department of Cultural Affairs 
City of New York 


The SWAT Team invites 100 dancers from the grade-inclusive 
in-school programs to receive advanced dance instruction for 
five hours on Saturdays during the school year. Children who 
demonstrate an extraordinary commitment to NDI training are 
invited to join the most advanced performance troupe: the 
Celebration Team. 

NDI's Celebration Team is an elite troupe of 75 talented 
dancers who spend every Saturday learning complex 
choreography. The team has performed at the White House, 
the Kennedy Center, and the United Nations, among other 
prestigious locations. 

Participants in the Summer Institute are either SWAT Team or 
Celebration Team members. They are selected for both their 
enthusiasm and their talent and take part in a program of ballet, 
jazz, tap, musical theater, and ethnic dance. The Institute is 
a month-long, five-days-per-week, six-hours-a-day instruction 
program that gives young people a strong technical dance 
foundation, as well as choreography experience. 

The impact of the NDI experience is well documented. 
Participants make significant gains in their grades, on stan- 
dardized tests, and in teacher ratings, according to one assess- 
ment. After graduating from the advanced weekend and 
summer program, many alumni become dance and arts teachers, 
mentors, and leaders in their communities. Another measure 
of the power of the NDI experience is the close relationship 
that many graduates maintain with the Institute: They often 
stay connected as chaperones for younger students; as interns 
and mentors at other NDI programs; and as stage managers, 
event producers, and stage crew for the annual Dance-A-Thon 
fundraising event. 

An inspiration and model for other community leaders and 
educators, independent programs based on NDI's exist in 
California; New Hampshire; New Jersey; New Mexico; Ohio; 
Texas; Virginia; and Washington, DC. 

Eduardo Patino 

9 Hi *: 

Will Power to Youth 

Shakespeare Festival/LA 

Since 1993, Shakespeare Festival/LA, a non-profit theater 
organization, has run a community arts, educational outreach, 
employment, and gang diversion program that trains and 
motivates young people by engaging them in producing their 
own versions of Shakespeare's plays. Will Power to Youth 
provides artistic training, accredited academic enrichment, 
employment, and experiences that build life skills to 30 
adolescents in each of its seven-week sessions held during 
school vacations or "off-track" periods during the school year. 

Right: Emilio Marroquin as 
Escalus, based on Shakespeare's 
Measure for Measure, reads a 
decree in the Will Power adapta- 
tion, The World Beneath. Below: 
Valeria Paniagua as Isabella 
pleads with Jorge Siguenza as 
Angelo in The World Beneath. 

Michael Lamont 

Guided by professional theater artists, teens adapt, rehearse, 
and present a play based on one of Shakespeare's texts. 
Special emphasis is placed on exploring the language, themes, 
and literary values of the selected play under the guidance 
of a dramaturge, a professional human relations facilitator, and 
an accredited school district teacher. Students also participate 
in seminars on movement, music, and acting techniques. 
They expand their experience through writing, set design and 
construction, and costuming. Using all of their new-found skills, 
they transform a Shakespearean play into one that addresses 
their life experiences in East, Central, and South Central Los 
Angeles. For instance, one youth production adapted scenes from 
Shakespeare's The Merchant of Venice that reflect on issues of 
^^^^^^^^^^^^^^^^^^^^^ race, religion, and power, 

topics still relevant today. 
At the end of each session, 
the program culminates in 
a week of performances of 
the student production at 
Shakespeare Festival/LAs 
permanent theater space. 
In addition to receiving 
an hourly wage for their 
participation in the program, 
enrollees are given five 
academic credits and a 
grade for their work. Both 
the compensation and 
the academic evaluations 
promote their sense 
of responsibility to the 
program and to other 
participants and provide 
them with a concrete 
measure of accomplishment. 

Although the program 
provides instruction in the 
theater arts and opportuni- 
ties for job shadowing in careers related to the stage, participants 
also learn more broadly applicable skills, such as how to manage 
time, interview for a job, or prepare for a test. "Will Power to Youth 
is not intended to be a workshop for aspiring actors," asserts 
Ben Donenberg, Shakespeare Festival/LAs producing artistic 
director. "It is a creative, comprehensive personal development 
program that uses theater in an employment and training 
context to give young people the skills and experience they 
need to go on in school and beyond school to a meaningful job." 
And they are: Will Power has achieved an 85 percent success 
rate at improving graduates' school attendance, literacy, and 
academic performance. 

Will Power to Youth 

Shakespeare Festival/LA 

1 238 West First Street 

Los Angeles, CA 90026 





Focus: Theater 

Annual Number Participating: 75 

Ages: 14-21 

Annual Budget: $2 1 3,500 

"I absolutely think this should 
be a model for other programs. 
It takes kids who might have been 
on the streets during their school 
break and gives them a way to 
earn school credits and get a 
paid job." 

Simeon Slovacek, PhD 
Professor and Program Evaluator 
California State University 
Los Angeles, CA 


Youth Guide Development Program 

Multicultural Youth Tour of What's Now 

For more than seven years, Multicultural Youth Tour Of 
What's Now, or MYTOWN, has engaged residents and visitors 
of all ages in learning about Boston's neighborhoods. Karilyn 
Crockett's purpose in founding MYTOWN is evident in the 
name: The organization fosters increased civic participation 
by connecting young people to local history. 

Each year, MYTOWN employs 40 Youth Guides who research, 
write, and lead walking tours of city neighborhoods. Residents 
share their stories of immigration and migration, activism, and 
service — often not documented anywhere else — with Youth 
Guides. Such prominent public historians as professors Robert 
Hayden, Northeastern University; James Green, University of 
Massachusetts, Boston; and Robert Allison, Suffolk University, 
train the youth guides to use library resources to research and 
create stories based on historical facts. 

Youth Guides begin their work by learning more about 
their own heritage. Researching the stories of how 
their families came to Boston helps local teens find 
a connection to the city. 

In addition, by learning about local links to national 
historic movements — such as the Union United 
Methodist Church, which was a stop on the 
Underground Railroad — 
MYTOWN students discover 
the strategic role that their 
hometown has played in 
American history. 

After completing their 
research, MYTOWN partici- 

ephen Martineau 

pants teach the public what they have learned. By leading walk- 
ing tours and taking part in other public education activities, 
they develop cultural competence and communications, critical 
thinking, and leadership skills. They learn to speak clearly and 
audibly, to ask and answer questions professionally, to interact 
as team members, and to show respect for people from different 
ethnic backgrounds — all important skills for becoming engaged, 
successful community members. For one-third of the Youth 
Guides, MYTOWN is a first, formative employment experience. 

At the end of the 2002 program period, 100 percent of the 
Youth Guides reported that MYTOWN taught them local and 
national history that they had not learned in school or elsewhere. 
And 60 percent said that MYTOWN "challenged their negative 
perception of their neighborhoods by helping them understand 
and identify local community assets." 

The MYTOWN experience is so well regarded that its 
curriculum has been selected as an official learning program 
for out-of-school programs supported by the City of Boston. 

Stephen Martineau 

Youth Guide 
Development Program 

Multicultural Youth Tour 

of What's Now 

POBox 180445 

Boston, MA 021 18 



E-mail: mrousmaniere(j 


Focus: Humanities 

Annual Number Participating: 40 

Ages: 14-18 

Annual Budget: $275,000 

"The best leadership development 
programs emphasize independent, 
critical, and creative thinking skills. 
MYTOWN offers young people an 
opportunity to develop those skills 
by exploring how choices and 
decisions were made in the past." 
Ellen K. Rothman, Associate Director 
Massachusetts Foundation 
for the Humanities 


In 2002, the President's Committee on the Arts and the 
Humanities with assistance from CONTACO CULTURAL, 
Fideicomiso para la Cultura Mexico — EUA (CULTURAL 
CONTACT, The US-Mexico Foundation for Culture), a non- 
profit cultural organization in Mexico City, presented two 
Coming Up Taller Awards to programs in Mexico. Consistent 
with the President's Committee's interest in promoting mutu- 
al international understanding through the arts and the 
humanities, we continue to honor Mexican arts and humani- 
ties programs with Coming Up Taller Awards. Our goal is 
shared by CONTACTO CULTURAL, and we are grateful to 

Far Left: Art students of them for identifying these lead- 

Tacahua show their work. ing arts programs for children 
Below: Members of Coros , c ., ^, • 

MECED-Chimalli stand before 3nd f ° r SU PP ortin 9 ^ Coming 

the Palacio de Bellas Artes. Up Taller Awards. 

MECED-Chimalli Staff 



Coros MECED-Chimalli 

InstitutoTamaulipeco para la Cultura y las Artes 

Across the southeastern-most part of the US-Mexico border is 
the Mexican state of Tamaulipas. In the capital, Ciudad Victoria, 
a partnership of two agencies brings music to children: the 
Instituto Tamaulipeco para la Cultura y las Artes (Tamaulipas 
Institute for Culture and the Arts), a statewide public agency 
of the Ministry of Education of Tamaulipas, and Sistema para 
el Desarrollo Integral de la Familia-Tamaulipas also known as 

dECED-Chimalli Staff 

Above: Young MECED- 
Chimalli choir members 
perform in concert 
with Lilians Matei, 
one of Mexico's leading 
vocalists. Far Right, 
Above: Choir members 
sing in Bizet's Carmen 
at the Amalia G. de 
Castillo Ledon. 

DIF — Tamaulipas (System for Integrated 
Family Development — Tamaulipas), 
a state public agency that protects and 
supports families. 

With technical assistance from the Sistema 
Nacional de Fomento Musical (National 
System for Musical Development) and the 
participation of local public cultural and 
municipal agencies, the Instituto has created 14 children's 
choirs, of 30-40 children each, in outlying communities. Music 
teachers from the local public schools are trained to conduct 
choirs in a repertoire of classical and contemporary music. 
Selected by audition for basic vocal ability, children rehearse 
three to five hours a week to prepare for performances at local 
festivals, anniversaries, and civic events. "Two months after the 
program started, the change in the children was remarkable. 
Disorganized children were quietly standing in line; unkempt 
children came well groomed. Their conversation focused on such 
issues as whether the sopranos should enter the stage before 
the mezzos! It brought tears to my eyes," remarks Medardo 
Treviho, director of cultural development, Instituto Tamaulipeco. 


Coros MECED-Chimalli 

InstitutoTamaulipeco para 

la Cultura y las Artes 

22Allende s/n 

Espacio Cultural Vicentino 

Ciudad Victoria, Tamaulipas 

Mexico 87000 

Phone: [01 1-52-83] 43-12-07-14 

Fax: [01 1-52-83] 43-12-62-63 

E-mail: medardo_trevino@ 

Focus: Music 

Annual Number Participating: 450 

Ages: 6-14 

Annual Budget: $ 1 96,600 

"We believe that music offers 
these children an alternative 
way of expressing themselves, 
a renewed sense of their value 
within their families and 
communities, and the vision of 
a new way of life." 
Fernando Mier y Teran, 
Executive Director 
Institute Tamaulipeco para 
la Cultura y las Artes 

MECED-Chimalli Staff 

Children who have a special interest and 
ability in music can participate on scholar- 
ship in a three-year, month-long, summer 
residential program at El Conservatorio de 
las Rosas (The Las Rosas Conservatory) in 
Morelia, Michoacan. Here, youth from throughout Mexico spend 
six to eight hours a day studying voice, piano, and the history 
of music. This experience gives them the skills to continue in 
music beyond the program. Currently, 19 children from the 14 
choirs attend the Conservatory, perform with some of Mexico's 
most-well-known professional artists, and participate in national 
and international festivals. 

The partnership with DIF — Tamaulipas makes these musical 
experiences possible. Through its program, Menores en 
Circunstancias Especialmente Dificiles — MECED (Children in 
Especially Difficult Circumstances), children in the choirs and 
their families receive general financial and food support, plus 
health care. This assistance allows the children to go to school 
and participate in the choirs and Conservatory, instead of work- 
ing to supplement their family's income. With these opportuni- 
ties, the children's visions of themselves and their futures 
change. And so do their parents'. "The families are so proud 
to see their children on stage performing," relates Fernando 
Mier y Teran, executive director, Instituto Tamaulipeco. "It gives 
them a sense of hope, of possibility." 


Talleres Comunitarios en las 
8 Regiones de Nuestro Estado 

Taller de Artes Plasticas RufinoTamayo 
Instituto Oaxaqueno de las Culturas 

Rufino Tamayo is a well-known Latin American visual artist. 
His legacy is a substantial body of work that masterfully uses 
colors and textures. It also includes a school of art m Oaxaca, 
Mexico, that bears his name, Taller de Artes Plasticas Rufino 
Tamayo (Rufino Tamayo Plastic Arts Workshop). The city 
government runs the school, which is supported by the 
National Institute of Fine Arts. 

Oaxaca, however, is not the only place where the visual 
arts flourish. Traditional Mexican arts and crafts also thrive in 
villages within the surrounding Central Valleys. "Each region of 
this area expresses itself differently, using different colors and 
media," notes Juan Alcazar, co-founder and executive director 
of Taller de Artes Plasticas. "It is important that we keep these 
differences alive and celebrate them." 

This conviction, shared by many others, led to the establish- 
ment of visual arts workshops for young people. Since 1997, 
Talleres Comunitarios en las 8 Regiones de Nuestro Estado 
(Community Workshops in the 8 Regions of Our State) has 
enabled 30-40 young people in each of the eight surrounding 
communities to receive Taiieres comunua 

free lessons in painting 
and drawing for 20 con- 
secutive days, two or three 
times a year. Some partici- 
pants learn papermaking 
and engraving. Students' 
projects reflect the coDec- 
tive cultural history of their 
communities. At the con- 
clusion of each Workshop, these young artists 
creations are featured in an exhibition for 
their community. 

The artist-teachers are Workshop "gradu- 
ates" who have gone on to study at Taller de 
Artes Plasticas for a minimum of two years 
and remain in close contact with the school. 
To enrich the experience of both teachers and 
students, the instructors do not teach in the 
communities where they grew up. 


The success of the Workshops is due to a partnership effort. 
While Taller de Aites Plasticas shapes the creative content of 
the Workshops, local public cultural and municipal authorities 
organize and advertise them. The authorities reach out to chil- 
dren and their parents 

Talleres Comunitarios en las 
Regiones de Nuestro Estado 

Taller de Artes Plasticas RufinoTamayo 
istituto Oaxaqueno de las Culturas 
Avenida Juarez #5 1 4 

Oaxaca, Oaxaca 
Mexico 68000 

Phone: [01 1-52-95] 15-14-63-66 
Fax: [01 1-52-95] 15-14-63-66 

Focus: Visual Arts 

Annual Number Participating: 

Ages: 6-20 

Annual Budget: $ 1 8,000 


"Children's perspective on the world 
changes when they are in the arts. 
They become better human beings. 
They better understand nature and, 
therefore, take better care of it." 
Juan Alcazar, Co-Founder 
and Executive Director 
Taller de Artes Plasticas Rufino Tamayo 

by using loudspeakers in 
the schools or in the city 
hall, posters, and flyers. 
They also 

provide Workshop sites 
and coordinate room and 
board for the instructors; 
sometimes, teachers live 
with local families. 

These Workshops are 
especially valuable since 
the schools in these 
regions offer little arts 
instruction. And because 
of this educational, cultur- 
al, and municipal partner- 
ship, opportunities are 
expanding for children. 

Far Left: Young artists 
prepare still-life drawings. 
Below: Students proudly 
display their art. 

Talleres Comunitarios Staff 

Coming Up Taller Awards 
Semifinalists 2003 

After School Program 
National Dance Institute 
of New Mexico 
Santa Fe, NM 

Harbor Conservatory for 

the Performing Arts 

Boys and Girls Harbor, Inc. 

New York, NY 

Albany Park Theater Project 
Chicago, IL 

The Harlem School of the Arts 

New York. NY 


Fulton County Arts Council 

Atlanta, GA 

Arts and Literacy Program 
Coalition for Hispanic 
Family Services 

Brooklyn, NY 

Arts Outreach: Mentoring 
Through Photography/ 
Mixed Media and Dance 
Stonehill College, Inc. 
Easton, MA 

Inside Out Community Arts 
Venice, CA 

Kids First™ Art Education 
Silicon Valley Children's Fund 
San Jose, CA 

Midnight Shakespeare 
The San Francisco 
Shakespeare Festival 
San Francisco, CA 

New Urban Arts 

Providence, RI 

Center for Creative Youth 
Capitol Region 
Educational Council 
Middletown, CT 

The Comic Book Project 
Teachers College, 
Columbia University 

New York, NY 

Community and After 
School Program 
Young Audiences of 
North Texas 

Dallas, TX 

Dare to Dance 
Ballet East Dance 
Austin, TX 

Dream Yard After 
School Arts Company 
Dream Yard Drama 
Project, Inc. 

New York, NY 

Ethos, Inc. 
Portland, OR 

Find Your Voice 
Program for Teens 
Starfish Theatreworks, Inc. 

New York, NY 

Progressive Afterschool 
Art Community Education 
(PACE) Program 
Norton Museum of Art 

West Palm Beach, FL 

Project ABLE 

Mill Street Loft, Inc. 

Poughkeepsie, NY 

Red Ladder Theatre Company 
San Jose Repertory Theatre 

San Jose, CA 

Regent After School 

Whitney Museum 
of American Art 
New York, NY 


Roosevelt Dancers 
Indochinese Cultural 
and Service Center 

Tacoma, WA 

Teen Art Coalition 

ArtWorks!, Partners for 

the Arts and Community, Inc. 

New Bedford, MA 

Strive Media Institute 

Milwaukee, WI 

Student Theatre 
Enrichment Program 
The Cleveland Public Theatre 
Cleveland, OH 

Teen Docents 

Fuller Museum of Art 

Brockton, MA 

Teen Media Program 

The Community Art Center, Inc. 

Cambridge, MA 

Students Creating Opera to 
Reinforce Education! (SCORE!) 
Hamilton Wings 

Elgin, IL 

Summer Writing Camp 
National Book Foundation, Inc. 

New York, NY 

Tiered Mentoring Program 
Everett Dance Theatre 

Providence, RI 

The Urban Voices 
Media Arts Program 
Global Action Project, Inc. 
New York, NY 

TAD A! Resident Youth Ensemble 
TAD A! Theater and Dance 
Alliance, Inc. 

New York, NY 

Youth- Art-in- Action 
Museum of Fine Arts, Boston 

Boston, MA 

Far Left: Photographers from 
Youth in Focus, a 2003 Coming 
Up Taller nominee, capture 
images of downtown Los 
Angeles. Left: Gabriel Torres 
shows a puppet he created 
for CalArts Community Arts 
Partnership and Plaza de la 
Raza's Puppet Theatre Program, 
a 2003 Coming Up Taller 
nominee. Below: Young dancers 
from the CAAM Chinese Dance 
Theatre, a 2003 Coming Up 
Taller nominee, wait to greet 
the audience before a show. 

Sharon Lye 


Coming Up Taller Awards 
National Jury 2003 

Jenny Atkinson 

Senior Director, Education and The Arts 
Boys and Girls Clubs of America 
Atlanta, GA 

Stanley A. Butler 

Branch Manager, Walbrook Branch 
Enoch Pratt Free Library 
Baltimore, MD 

Debra Evans 

Director of Education and Community Programs 
The Washington Opera 
Washington, DC 

Susan McLeod 


Chippewa Valley Museum 

Eau Claire, WI 

Philip Nix 


Sonoma Country Day School 

Santa Rosa, CA 

Jeanne H. Schmedlen 


Pennsylvania Humanities Council 

Philadelphia, PA 

Patricia A. Shifferd 

Vice President, Community and Education Programs 
American Composers Forum 
St. Paul, MN 

Cary D. Wintz 

Professor, History Department 
Texas Southern University 
Houston, TX 


President's Committee on the Arts and the Humanities 

1100 Pennsylvania Avenue, NW 
Suite 526 
Washington, DC 20506 

Phone: 202-682-5409 
Fax: 202-682-5668 

The President of the United States recognizes that the Nation's cultural 
life contributes to the vibrancy of society and the strength of democracy. 
The President's Committee on the Arts and the Humanities helps to 
incorporate the arts and humanities into White House objectives. The 
Committee bridges federal agencies and the private sector. It recognizes 
cultural excellence, engages in research, initiates special projects, and 
stimulates private funding. Areas of current focus include programs in 
youth arts and humanities learning; preservation and conservation; 
special events; and expansion of international cultural relations. 

First Lady Laura Bush, Honorary Chair 

Adair Margo, Chairman 

Henry Moran, Executive Director 

Institute of Museum and Library Services 

1100 Pennsylvania Avenue, NW Phone: 202-606-8536 

Washington, DC 20506 Fax: 202-606-8591 


The Institute of Museum and Library Services is an independent Federal 
grant-making agency dedicated to creating and sustaining a nation of 
learners. The Institute fosters leadership, innovation, and a lifetime of 
learning by supporting the nation's 15,000 museums and 122,000 
libraries. The Institute also encourages partnerships to expand the 
educational benefit of libraries and museums. 

Robert S. Martin, PhD, Director 

National Endowment for the Arts 

1100 Pennsylvania Avenue, NW 
Washington, DC 20506 

Phone: 202-682-5400 

Fax: 202-682-5611 



The National Endowment for the Arts enriches our Nation and its diverse 
cultural heritage by supporting works of artistic excellence, advancing 
learning in the arts, and strengthening the arts in communities through- 
out the country. 

Dana Gioia, Chairman 

National Endowment for the Humanities 

1100 Pennsylvania Avenue, NW 
Washington, DC 20506 

Phone: 202-606-8400 
Fax: 202-606-8240 

Because democracy demands wisdom, the National Endowment for 
the Humanities serves and strengthens our Republic by promoting 
excellence in the humanities and conveying the lessons of history to 
all Americans. The Endowment accomplishes this mission by providing 
grants for high-quality humanities projects in four funding areas: 
preserving and providing access to cultural resources, education, 
research, and public programs. 

Bruce M. Cole. PhD, Chairman